Its generally pretty hard to diagnose these type of problems without having some more info, but in general I would say just double check how youve set everything up, and test wwise on its own using the soundcaster If that works then try it with unreal and use the profiler in wwise and from there you can probably figure out what might be your issue. Check the spelling of your name on the states, this has messed me up alot. copy and paste them to avoid spelling errors. Im sure youll figure it out:)

So there are a couple of reasons for this. The main one is that the De- noising process for the samples removes a lot of the treble, in my case I had to remove more noise because I didnt have high quality mics and preamps to record with. Another reason is that I used the practice pedal(felt piano) so that also made it sound muffled. Ive had oppourtunities to record with higher quality mics/signal chains and imo they make all of the difference in terms of quality. Of course I nice piano generally helps too:)

@@ArcitecAudio Thanks for the explanation. I can now understand the difficulties you had in recording the samples and removing noise. It's a long laborious process recording samples.

@@jonos138 With better mics and you dont have to do as much noise removal and it sounds much better!

Could be cool Idea with to showcase the entire workflow of maybe a short game jam! Only tricky thing is implementation is always game specific so other than some basic things on how to use the wwise and unreal tools to do simple stuff its rare that the implementation you follow will exactly work with your situation. Although sometimes is does and its great:) Thanks for the suggestion

The learning and improvement never stops, im still looking at other guys and thinking the same thing too haha! Everybody has gotta start somewhere, just keep practicing and learning:)

@@ArcitecAudio how long have you been at the sound design? it's sounding great

@@namoneeco Thanks so much:) Probably around 5 years now!

Glad you found it useful! Good luck!

Hi Vasilis! Thanks for the message! While I would likely need more info on the Unreal side of things to understand you problem a bit better, I would say check the spelling of your state and state group in unreal blueprints or in wwise(copy n paste to be sure). Make sure to use the profiler in wwise to see if Unreal is indeed sending the State change. From there you can determine what information is being passed or not and hopefully solve your issue. Best of luck:)

Thanks for this comment; I really adore this piano its been with me for over 18 years! I actually moved the piano near my staircase for the reason reason you just mentioned, it sounds much better there! I really would love to close mic a some stereo coles 4038's and combine them with some other condensers a little further away. I did this mic combo at Humber studios for some recordings a while back and it really captured the low and mid nicely but because of the ribbon it attenuated much of the hammer\mechanical noise from close mic a piano, combined and mixed, you get the nice detail of the condenser far enough to avoid the mechanical noise but then have the ribbons close to bring out and enhance the low and mids of the piano. My preference is generally for warmer sounding pianos which are a little less bright so this setup worked for me!

@@ArcitecAudio Wonderful! You might also consider a Blumlein pair (condenser or ribbon), depending on how much you like binaural. I have not tried Blumlein yet but plan to experiment with a pair of AKG 414's. Have you tried SampleRobot? I am temped to try it. Pricey, but seems to potentially automate the sampling workflow in a very time-saving way. I can see how it would be a big time saver with synths (especially ones with MIDI), but I was wondering about acoustics instruments.

@@64nightfly I havent done the blumlein technique yet on a piano but i have actually sampled a piano using the binaural ku-100 along with some coles, 149s and some km184s its was my best piano sampling; will post it up one day with a link to download it, maybe on piano book and my website. I have not tried sample robot, will look into this for sure, any time saver in sampling is good!

Its been a while, but I started with this "How To Build A Piano Instrument In KONTAKT" and then just figured out the sample amount I wanted to do and then figured some out myself and also used other resources like David Hilowitz to learn a bit more about kontakt. Its not too hard to do but to get a good result on piano you need lots of sample velocity layers. Hope that steers you in the right direction:)

@@ArcitecAudio I'm shooting my shot here but i would be interested in you helping me create a piano instrument with real piano samples like this for a project im working on for 2024. If this is something you are interested in send me your email i would love to give you more details. Compensation would be involved btw. Let me know.

Yeah sure let me know the details! If you got to bottom of my website, my email is right there www.arcitecaudio.com/ @@KellBailey ..i would hyperlink the website in the comments if i knew how

@@ArcitecAudio Sent! i look forward to hearing from you!

Thanks Azmio! I appreciate that alot! yeah this game has been in development for a while and so things are still being tweaked and optimized. Im actually super excited to work on some more in depth videos explaining all this in more detail but here goes! - most local audio sources are tied to a global rtpc "sanity" from a range of 0-100, depending on the players "sanity" i simply play the event when the global parameter exceeds a threshold a bit before the rtpc to slowly fades the audio in; works the reverse for turning it off. Not all audio sources follow this, but most local ones for example showed in the beginning section do. - Will definitely show some stuff in Reaper when i do this section. Each room tone is room specific using ak rooms and also ak portals to crossfade into one another. The room tone also consists of 3 timbrally different layers emphasizing the high mid and low bands of the freq spectrum. I used a blend cont and rtpc to move between the different layers. It functionally doesnt work this way but the concept is like a hi pass filter moving to low a lower freq as sanity declines, its meant to be subtle and only noticed when its not there. - soundly is great resource starting out as its a sub however i would recommend investing in few libraires (boom library and pro sound) when you can afford it. Most sounds in this game i recorded myself with some exceptions notably in the character scare event( the voice and some movements i recorded though) - I created and designed all of the character movement on the spline path, sphere trace vanish, and ai at the end so much of the dev of the sound was actually informed from making it work visually first. The blowout was a fun thing i got the actress to do with a zippo on the binaural ku 100 but its was mostly me just trying to be creative! I will 100 percent do a more in depth video on this for you guys:) Thanks for commenting on this, I know this is a super brief overview and im happy to answer more questions specifically on this implementation:)

@@ArcitecAudio I appreciate your going through each and every question. Although this was useful I am afraid I don't understand all of the words your using like ak or rtpc (I don't have a background in sound design). Looking them up wasn't too effective haha, I think something that might make your videos more accessible is outlining what does mean before the video or using more common language. Regardless a lot of the systems you have going must really add to the game experience (specifically the local weather sounds near the windows and the different intensity sounds for throwing objects). They are a great starting point for me as I didn't know how some of these more complex systems were made, I'm hoping to see which ones are easy enough to implement on my own.

Oh yeah apologies, part of my thought behind this specific video was not to explain everything in detail as i wanted to cover alot in short amount of time, my other videos on this game in the future will be alot more accessible! @@azmioDV Ak = audio kinetic or wwise events in game. RTPC = Real time parameter control; these are used to control variables in progamming such as floating point numbers - 1.12 and integers - 1,2,3

Indeed! The game is looking great:)

Glad you like it!

Thanks:)

Why are you stop publishing new content?

@@byD.Jakubiak Much of my time these days is spent on game audio sound design and programming so its been hard to find time to work on new content. Im currently trying to find a way to balance this work with the creation of new content but funny enough I am working on a video right now, about game audio stuff tho. What kind of content would you like to see?

The differences are quite noticable yes and in general i would say more expensive microphones = better result up to a certain point. Its also the depth of your sample layers which makes a convincing sample, with pianos its mostly in the in the velocity layers! To get a decent sounding sample, better than this recording youve got to spend around 3hrs just doing all your layers, after that processing is not that fun either:) Im not too familiar with the Logic sampler so Im afraid i cant be of much help here! With regards to your sampler of choice, I would recommend Decent sampler or Kontakt as you can use these with other DAWS, but if your a logic die hard then i think the ease of sampling outweights the effort needed in making your sample versatile across multiple DAWs

Generally you shouldnt have any issues regarding memory for any audio as its quite light. If youre using soundbanks you can optimize those but using Wwise's event based packaging eleminates the need to manage your memory. You can even go on to their website to try out apply to use the premium plugins for wwise

My pleasure:)

Hey There! If youre looking for some youtube stuff I would reccommend Scott Game Sounds channel, Hes got some unreal and wwise stuff. As for Documentation, I would check out this alessandro Fama website, hes got some great documentation! alessandrofama.com/tutorials/wwise/unreal-engine/ Udemy is also great, there are some wwise courses there too! One last word on this would be to not shy away from programming, If your a technical person I would dedicate some time to just learning how to do stuff in unreal or unity aside from doing music of sfx implementation, It will help you tremendously! Good luck:)

Your very welcome Im glad you found it useful! here's my linked in....beware, i dont use it much www.linkedin.com/in/stephen-halsey/

glad it helped:)

Awesome! Glad it helped! Cool to see that you are also into Game dev! Working on any cool games atm?

No problem! Glad it helped you out!

Thanks Ryan! Hope everything going well! Im excited to hear the new update:)

:) Happy practicing!

Hey man thanks so much! yeah Im gonna be putting out as much shorts as I have time for! Music and sound design! I hope your able to get something from those videos, also if you ever have something musical you want me to cover Id be happy to take requests! Have a great day:)

Thanks so much:)

thanks:) One of these days i will post the binaural sample version I recorded with the Ku - 100 and an bunch of other expensive mics at humber studios

Hey Mark! Thanks for the question! So theoretically the movement from Em9 to F#7 could be considered a I minor that goes to the II secondary dominant, meaning that it would be correct to say F#7 instead of Gb7(in the video I mistakenly said Gb7 and wrote it haha..ooops! :). This is also the case if we look at Em9 and F#7 respectively as the the IV minor and V dominant in the key of B minor. As to the part about why this would relate to calling Bm9 = Cm9. I am little confused and would just ask you to clarify a bit further! Perhaps I am not fully understanding what you mean! I am more of a practical musician than a theorist( I do love theory) but I try not to get caught up in enharmonics and the details of it. Apologies if it caused some confusion however the proper way to think of it would be as an F#7 and not as a Gb7. hope this helps :)

Im glad it helped out!

Thanks for the kind words:)

I really think the best way you can approach any type of implementation is to first understand the type of features that the game is going to have. What do you want to happen in the game and then work from there to think about how the music will factor into that. Of course an understanding of whats possible in Wwise is also a great place to start too, for example check out what RTPC's and sub tracks can do for your arrangement( more vertical arrangement) also look into stingers. This video is meant to be an intro to some basic ideas. Id be happy to help you more if you have any questions on the stuff i just mentioned here but there is also some great you tube tutorials about this sort of things too!

@@ArcitecAudio The game called is "Beatstar". There's just two things; the song/track audio and it's loop. I want to pass into the ending screen with loop of the track when i finish a song.

​@@er-to8zh yeah its sounds like two different states would be your best bet, one for the song/track and one for the loop of the track when you finish the song. When the ending screen goes up you can call the other state and set it's fade parameters so that the song/track audio fades how you want it into the loop track. Hope that helps!

Hey Christopher! Its a bit tricky to know for sure what youre specific problem could be regarding the playback of the ambient fx. A couple things I would recommend though is making sure that your soundbanks are generated correctly and the wwise project is saved as well as checking that your ambient sound sources can play back in the editor, if they cant it might be that you havent build the banks in unreal, misnamed a file! Again its a bit tricky to know for sure what your specific issue is without getting some more info! I hope these ideas helped!

nor did I but im glad you found it funny :)

Yeah man! you can do it! I didn't know much in the beginning but I learned so much from just doing it! You'll meet alot cool dev's along the way and will likely make a game in the future with them. Best of luck on your journey:)

I dont have a download for this specific one available at the moment:( , however this year i will be making a video or two showing my experience creating a vst for Kontakt which will be downloadable. It will be a piano vst that will be sampled Binaurally with the KU-100 along with a bunch of other mics. Ive already done this before with less velocity samples but havent posted a video on it yet. Ive been so busy with my new job that You Tube has fallen by the wayside. When im a bit more stable i intend to get some stuff up!

Thanks so much! That really means alot!

Thanks Casey!

Thanks so much, i hope to have some more time soon to post soon!

Thanks Charles! Ill look into posting a video with a link to this binaural piano i just made a while back. It still needs some tweaking but nonetheless it could be cool for anyone looking to learn how to create an instrument using multiple mic positions!

@@ArcitecAudio Pure passion! Keep doing it, Looking forward to hear those binaural samples!

Thanks! so much! i actually should post a binaural piano i just finished making a while back. I recorded it and made a vst for it where you can use a bunch of other mic positions. Ill look into doing that soon then!

Im so glad you found this useful! I will get to the part 2 in the future! I have just been a bit busy with alot of other work, will come back to it for sure though!

Im not sure if youve solved the issue currently, but I would always make sure to double check all of the steps in the process of adding a new sound in. If youve created a new soundbank, make sure that the music is working as an event first and the soundback is generated and saved. After that i would look in unreal and make sure that an AK Bank is created to match your new soundbank, make sure you have a event that is linked to that specific soundbank and then make sure its all compiled and using the proper blueprinting. It sounds like the blueprint isnt the issue though but is more of an issue with something you forgot to do along the way. It can be tedious! But im sure youll figure it out if you havent already! If youre still stumped send me another message and maybe we can figure out a way where i can help you!

No problem:) glad it helped!

Yeah so you can totally work on your project in Wwise without it being integrated with any game engine! Just keep in mind that the programmer will have to have Wwise and Unreal installed on their computer in order to do the whole integration process. If youre unable to install Unreal, you can work the project out by just sharing the Wwise project files with the programmer after your done with them however if we are being realistic, i think finding a way to implement the sounds on your own gives you the most control and generally most programmers are not familiar with Wwise.